A MAGNIFICENT EMERALD-GREEN JADEITE TRIPOD CENSER AND COVER
The Property of a Private Japanese Collector
A MAGNIFICENT EMERALD-GREEN JADEITE TRIPOD CENSER AND COVER

細節
晚清 翠玉雙龍活環耳蓋爐

爐翠玉質,圓形,束頸,鼓腹,下承三足。有蓋,蓋圓撇頂,雕太獅少獅為紐。微侈口,厚唇,肩兩側飾對稱龍耳,各套一環,腹下有三獅首吞式足。

此爐以上乘而碩大的翠玉料雕琢而成,掏膛規整,精雕細琢,瑩潤通透,為翠玉器中之極品。

翡翠在清十七世紀順治年間由緬甸流入中國,當時翡翠多為皇室所有,流散到民間甚少。自乾隆帝開始,嘉慶、道光、咸豐、同治、光緒、宣統七位皇帝及后妃們均對翡翠情有獨鍾,宦官和商賈以翡翠收藏豐儉來衡量財勢,故翡翠又稱之為「皇家玉」、「帝王玉」,其地位凌駕於各種寶石之上。

此香爐源自日本山中商會,昭和九年 ( 1934年) 五月於大阪日本美術協會《支那朝鮮古美術展覽》中展出,並著錄與展覽目錄第751號。
來源
Yamanaka Shokai, Osaka, Japan
展覽
Grand Exhibition of Ancient Chinese and Corean Works of Art, Yamanaka Shokai, Osaka, 1934, Catalogue, no. 751

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拍品專文

The censer is carved from an exceptional boulder of high shui fen or "water content". This precious material, with its remarkable degree of translucency has been regarded as the most valuable and rarest of all the many classifications for jadeite. Once polished, jadeite material with high shui fen is so vitreous, it can be described as liquid in quality. It has been noted that unlike other precious stones which reflect and refract light, jadeite of this quality is most appealing as it appears to absorb the surrounding illumination and glow from within.

Given the rarity, quality and value of the jadeite boulder used for this substantial censer, it is quite remarkable that the rough was used for a single object and not carved into smaller ornaments.

While most jade and jadeite censers are carved with a variety of archaistic themes around the body, the lapidary craftsmen chose to leave the body of this vessel plain and polished it to an attractive sheen to emphasize the beauty and colour of the material.

Compare with a censer of very similar form and colour sold at Christie's Hong Kong, 26 April 2004, lot 967. This censer also compares very favourably with another important censer carved from similar material, included in the Jingguantang collection and sold at Christie's Hong Kong, 3 November 1996, lot 601. Although the proportions of the censers differ, there are many similarities including the quality and style of the carving of the finials and handles, and the decision to leave the majority of the vessel undecorated.

Compare also with a further two important jadeite censers from American museum collections which exhibit many similarities, suggesting they too were crafted at the same workshop, the first from the T.B. Walker Foundation, sold at Sotheby's Hong Kong, 17 November 1988, lot 299; the other from the Cleveland Museum of Art collection, sold at Sotheby's Hong Kong, 30 October 1992, lot 381. The carving of the Buddhist lion finials on all four censers are very closely related, the pairs of felines are depicted with the similar features and manes standing above the tall domed covers. The imposing animal mask handles exhibit the same boldness and crisp lines, the proportions of the ring handles are very closely related as well. Further similarities can be made when comparing the tripod feet, and the polish of each vessel.

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